What binds literature, electronic literature and games is "the shaping and networking of the imagination." Drawing on the ideas of Damasio, Walton and Sartre, Gordon Calleja looks at the synthesizing role of the imagination in narrative indie games.
In an attempt to re-materialize postmodernism, Damien Gibson provides, by drawing on material ecocriticism and on the concept of “narrative agency,” a critical posthumanist reading of Jeanette Winterson’s The Stone Gods.
Katherine Hayles uses Steve Tomasula's multimodal TOC for a significant engagement with the temporal processuality of complex technical beings. Drawing on Bergon's "duration" and its elaboration in recent theories of technicity and consciousness, Hayles explores the complex temporal enfoldings of living and technical beings, showing that Tomasula's new media novel narrates and materially embodies such assemblages.
This formulation by Joseph Tabbi is being reprinted with permission from the University of Minnesota Press's remixthebook. The original online version can be found here.
Regarding a monumental work on race, time, and classical music that does not lose sight of individual, localized lives.
Salvatore Proietti straddles science and fiction to offer an interpretation of a McElroy Cyborg.
hypertext? cybertext? hypermedia? webart? while new media critics debate the terms, Talan Memmott has produced the thing itself, a creative use of applied technology.
Ken Perlin on a game-narrative difference that makes a difference: does agency, rather than identifiction, make characters in a game seem more real than those in novels or films?
Marta Werner uncages Emily Dickinson's fragments.